Julien Bayle

2 lines of 3 speakers (+ some sub, not figured here)

Basically, I think I'll have 3 paradigms of use for that system, matching visuals context too.

1/ I want to be able to place n mono sources within my room, virtually, this is the 'all independent' paradigm.

2/ I also want to be able to define 2 sides.

Ideally, I'd like to have only one global paradigm in which I can have some sources moving everywhere, some other oscillating on each 2 sides (as defined below in the figure) or through 3 lines. I feel that as a global paradigm defined by a sort of ambisonic encoding and some specific parameters for sources (for instance, by degrading the ambisonic order, I can make a source more or less diffuse etc)

I used to work with HOA library for spherical/circle stuff but not for linearly placed speakers.

Maybe I should build different system, one per paradigms, but I wouldn't like that way as I think it would constraint the stuff. Another idea could be to have a number of source channels like:

- n able be panned through L & R (2 sides paradigm)

- n able to be panned through 3 lines (3 lignes paradigm)

All in the same ambisonic (or else) context.

That would constraint things a bit, but, depending on what I want and need to send to speakers, I'll feed this or that channel.

Would you have some ideas/feelings/experiences about that ?

spatial_2x3.png

Basically, I think I'll have 3 paradigms of use for that system, matching visuals context too.
1/ I want to be able to place n mono sources within my room, virtually, this is the 'all independent' paradigm.
2/ I also want to be able to define 2 sides.
3/ I'd like to explore also 3 lines

I used to work with HOA library for spherical/circle stuff but not for linearly placed speakers.

Maybe I should build different system, one per paradigms, but I wouldn't like that way as I think it would constraint the stuff. Another idea could be to have a number of source channels like:
- n able to move everywhere
- n able be panned through L & R (2 sides paradigm)
- n able to be panned through 3 lines (3 lignes paradigm)

Hi there,
2 lines of 3 speakers (+ some sub, not figured here)
Basically, I think I'll have 3 paradigms of use for that system, matching vis

spatialization-with-2-lines-of-3-speakers-ambisonic

any experiences for ambisonic in not-circular speakers position context ?

i should use and decompose the basics to have the hands on: levels- delays- eq- compression. Imho it's often a big surprise to hope in abstracto an effective result. The concret proof is cruel: caracteristics of loudspeakers, of the room, place of the audience. In the same effect of spatialisation, different "noises" make different senses, and interact together.

In a mono sound you can have a complex landscape, What sense do you expect/add from the spatialisation ? 

For me, more a question of dramaturgy. Technically, what does need to change in realtime: Max or MSP time ? Micro delays/ micro dopplers, Haas effect, some reverb ? 

6 loudspeakers is simple to first prototype with gain~/matrix~ delay~/tapin~ etc

A part of patch with fixed eq-level to adapt easy to the loudspeakers in place

If a sound needs to move, it's very different if in 2 or 30 seconds in your scenography. More than 3 seconds ( i.e. time of a reverb), you install a place in the space, a "key sound", a source of information.

Instinctively we search a frontality, a logical front/rear comprehension. A visual context ( screen ) is an immediate reference. Do you think the sound in contradiction with this reference or not ?

- so many things to say, and test, and invention

Hi Julien 
i should use and decompose the basics to have the hands on: levels- delays- eq- compression. Imho it's often a big surprise to hope in abstracto an effective result. The concret proof is cruel: caracteristics of loudspeakers, of the room, place of the audience. In the same effect of spatialisation, different "noises" make different senses, and interact together.
In a mono sound you can have a complex landscape, What sense do you expect/add from the spatialisation ? 
For me, more a question of dramaturgy. Technically, what does need to change in realtime: Max or MSP time ? Micro delays/ micro dopplers, Haas effect, some reverb ? 
6 loudspeakers is simple to first prototype with gain~/matrix~ delay~/tapin~ etc
A part of patch with fixed eq-level to adapt easy to the loudspeakers in place
If a sound needs to move, it's very different if in 2 or 30 seconds in your scenography. More than 3 seconds ( i.e. time of a reverb), you install a place in the space, a "key sound", a source of information.
Instinctively we search a frontality, a logical front/rear comprehension. A visual context ( screen ) is an immediate reference. Do you think the sound in contradiction with this reference or not ?
- so many things to say, and test, and invention
friendly
michel



Hi michel and thanks a lot for your analysis.

I understand that I didn't write enough here for you to figure out how the piece is, what feelings are underlying. Visuals are all along 2 screens too and the setup is prototyped for some tests. 

I should have been more precise about my question: 

- what do you think about ambisonic context for such speakers not-in-circle configuration ?

Hi michel and thanks a lot for your analysis.
I understand that I didn't write enough here for you to figure out how the piece is, what feelings are underlying. Visuals are all along 2 screens too and the setup is prototyped for some tests. 
And I agree with all you wrote. 

I should have been more precise about my question: 
- what do you think about ambisonic context for such speakers not-in-circle configuration ?

I never used ambisonic. I only used the miap externals, they work perfectly in non-circle environments.

And it’s easy to prototype with a small-scale set-up and to fine-tune it later with the large-scale set-up.

watch the youtube tutorials to get an impression and a good introduction.

I never used ambisonic. I only used the miap externals, they work perfectly in non-circle environments.
And it’s easy to prototype with a small-scale set-up and to fine-tune it later with the large-scale set-up.

watch the youtube tutorials to get an impression and a good introduction.
http://www.zacharyseldess.com/miap/ 

Hi Julien & Ben i've had full attention, and admiration to HOA and ICST package, MIAP too. Ambisonics appears to me very large deep theory, useful for the gestion of many identical "good known" loudspeakers. Playing with at home, but in daily life, i don't use on stage, for many good and bad reasons. ( i.e vanilla objects only, never standard configuration of room and loudspeakers ). Sorry i can't help with experiment in the real world 

Hi Julien & Ben i've had full attention, and admiration to HOA and ICST package, MIAP too. Ambisonics appears to me very large deep theory, useful for the gestion of many identical "good known" loudspeakers. Playing with at home, but in daily life, i don't use on stage, for many good and bad reasons. ( i.e vanilla objects only, never standard configuration of room and loudspeakers ). Sorry i can't help with experiment in the real world 
friendly michel

I used it a couple of project including SIG.INT one at S.A.T. Montréal:

My main concern here is the not circular environment.

HOA is VERY reliable.
I used it a couple of project including SIG.INT one at S.A.T. Montréal:
http://julienbayle.net/sig-int  

spatialization with 2 lines of 3 speakers / ambisonic ?